For their 260th production, the RPI Players have chosen to perform the piece that introduced the world to the word “robot.” Rossum’s Universal Robots originally premiered in Prague in 1921, decades after its translation from Czech to English it has been brought to life again at the Playhouse.
While the set design, created by Michael Pratt ’09 with the assistance of Christina Gambino ’11, had a chance at grandeur, the execution of their vision lacked true justice. The walls on stage appeared to be piecemealed together without the concept of a level or joint compound. The impurities were further highlighted by the lighting. For a play that is traditionally set in the 1920s, the sets had more of a 1950s feel to them, with more modern points. The majority of this is due to a tight budget, but more coherence of a specific time period would have boded better for the show itself.
Jacob Brode, who played Harry Domin, the general manager of the factory, brought across the sexual attraction and desire to have a woman on the island with great success. The ease of believability in his character may not have been perfect but it was definitely there. He used the stage and played off his fellow performers, only occasionally over-performing.
The daughter of President Glory and president of the Humanity League, Helena Glory, was played by Kristie Norris ’09. Norris gave off a sense of discomfort in a few of her scenes, where you may have instead expected her experience to lead her through. Overall she gave a valiant effort that can easily improve before closing night.
Former student Robert Fishel appeared to have found the awkwardness of some RPI students to be an inspiration in the development of his character. Playing Dr. Hallemeier, the Psychologist-in-Chief, he exhibits how one might act after years without any form of contact from the fairer sex. With his usual relaxation and ease, Fishel brought Hallemeier to life.
The performance of Christopher Brousseau ’10 as Dr. Gall was an excellent portrayal of a true scientist trying to please the object of his affection. Brousseau’s presentation of the timid physiologist is one of excellence, while not appearing too often, when he was on stage, he did justice to Gall.
Jonathan Janssen ’07, illustrated his experience through the character of Mr. Alquist. Aliquist’s morals and ethics are shown through Janssen’s face and actions and felt through his voice.
Gracing the stage of the Playhouse for the first time officially in front of an audience, Derek Pitman ’10 portrayed Mr. Fabry, the factory’s chief engineer. Portraying a nervous, mechanical brain that never gives up, Pitman surely found inspiration in his peers and himself.
Also making his first appearance on stage was Austin Jolley ’11 as Consul Busman. You wouldn’t guess it was his first time acting, nerves were discarded and lines were delivered eloquently. Jolley made use of his props and brought out the true businessman, always ready to make a deal.
The robots were rather true to their form, except for the portrayal by Amanda Jolly ’11 who seemed to consistently have a smirk across her face that was rather out of character. David Melecio-Vazquez ’11 brought Radius to life, in his precision and lack of humanity. Sulla (Morgan Mauro ’11) had a voice devoid of emotion, and movement to follow suit. Jennifer Bishop’s ’11 role as Robotess Helena was that of flightiness perfected, alongside Duane Granston ’08, Primus, and his protective edge.
The props were creative and there are even a few interestingly unique and entertaining surprises along the way. While there may have been a lack of coherence in some aspects, it did not fully detract from the play. The actors more than made up for any blunders that may have been made in the preparation. The interpretation was on-point and rather researched. It was a commentary on the future of humanity due to the possible threat held by technology. Take a chance at injecting some culture into your semester; R.U.R. is definitely worth seeing at least once.
